This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3496

Post No. :

14053

It would be late 1960s, early 1970s – फिल्में देखने का चस्का चढ़ा था। Did not have much more than some fanciful fancies at that time, and very little understanding. I would fancy the heroes, especially Dev Anand, Rajendra Kumar etc. And I would have lasting crush on the leading ladies; generally lasting for a few weeks. I would fancy them to be my leading ladies 😉 – Sadhna, Asha Parekh, Mumtaz, Saira Banu etc.

Besides these two types of fancies, there was, yes one more. This was not so much of a fancy, rather it was more of an abhorrent fright. Of a special person when he appeared on the screen. And a panic would run through the mind and I would clutch a parent’s hand and whisper “oye, Pran aa gaya”.

Such was the dread in the minds of us pre teen kids. Whenever we saw him enter the frame, our hearts were like – now something bad is going to happen. He is going to bully someone, he is going to beat up someone, he is going to insult someone, he is going to cheat someone, he is going to put his weight on a lady and make her scream. . . Ah yes, these were the type of stereotype images that were associated with Pran, and we despised him for all our childhood.

Fast forward now to mid 1990s. I was in the US, and had a long stint in the city of Lansing in Michigan, working on a state govt. project. Lansing is comparatively a small town, despite the fact that it is the capital of Michigan state. There were only two other things besides the state government – the state university and a cornflakes factory owned by Kellogs. And being in Michigan, we were snowed in for six months, and chilled out for another four. We just got a warm season for two months – July and August.

So there was not much to do in that town, other than concentrate on your work. For me, there was a grand saving grace. The small town had a big video library of Hindi films, run by a Pakistani national and a very dear friend, to date – Akbar Bhai. It was not long before I became his best customer, and just for my sake, he would communicate with other dealers in the country and sometimes even travel out, to get the films that I would be requesting of him. I purchased two Toshiba VCRs, bought many packs of VHS tapes, and spent a lot of time copying videos of songs from the VHS tapes that I rented from him.

Sorry for this longish digression, I am coming to the point. The net is that for the few years that I spent in Lansing, I watched and replayed a ton of Hindi films that were available on VHS – of course my choice would taper off after 1970s. In one set of many weeks together, the movies that I rented from him, were a combination of many leading heros, and many genres. But all of them had one thing in common. The villain was Pran. In each and every one of these films, Pran would be getting a hiding of his life in the last 10 to 15 minutes of every film. After having sat through probably a score of films over a period of 4 to 5 weeks, my mind changed and started sympathizing with him. No matter what the film was, he would get beaten up black and blue at the end. And to add insult to injury, he was forced to apologize and plead for forgiveness, or summarily be taken away by the police.

Really telling you, I started to feel sorry for him. And I started to wonder. Day in and day out, he would be shooting films with his co stars, and on every set and every studio floor, he would be taking a beating in front of hundreds of onlookers, every single time. And my mind started to build upon a psychology of such an individual. Of course it did strike me somewhere within this analysis, that yes, money is also involved. But then I rationalized – if I were given money, just for getting beat up every week and in every film I worked in, I would throw away the money, and walk away. But the money angle aside, I used to wonder at this gluttony for punishment. In every film, he misbehaves with ladies, he cons his own family members, he bullies and beats up people. And then, he gets beat up real good for the happy ending of a film. And my mind was like – does this guy never learn? Does he never give up?

I never did see the film ‘Guddi’ (1971) in its first runs. I would get to see it many years later, maybe on Doordarshan or maybe on a VHS play. An inkling of the true nature of this gentleman – I encountered for the first time in this film. Kusum (a teenager, role played by Jaya), who is smitten with a crush for actor Dharmendra, is taken to Bombay by her uncle, Utpal Dutt, and is given a tour of the film studios – a view of how the films are actually made, and what these stars are in real life behind the scenes. So there is a scene, in which Jaya is with Dharmendra, and Pran walks by. They greet each other; and Kusum is hiding behind Dharmendra in fear. Dharmendra admires Pran’s wrist watch, and Pran immediately takes it off and presents it to Dharmendra. After Pran leaves, Jaya reacts strongly, insisting to Dharmendra to return the watch – “इस में कोई चाल है” is what she says. Dharmendra starts to laugh, and then explains. That Pran Saab in real life is an impeccable gentleman, a complete reverse of what his screen image is. He is an amiable, a very friendly, a very kind and a very helpful person.

Along with Guddi (Kusum), it was also a wiping away of a fanciful sheen in my mind, associated with the person called Pran. Then of course, from 1967 onwards, he had started appearing in character roles other than as a villain, and had a complete makeover of his outward personality over the next few years.

But that image has sustained, because the films exist. That is what typecasting does to you. In reality, Pran is somewhat of a popular name in north India, amongst Punjabi and Hindi speaking families. In the 1950s and 60s, the dread of his roles was so great that actually, families stopped naming their children with the word Pran, and its variations. The Gabbar Singh gloat about “बीस बीस कोस तक॰ ॰ ॰” was still to come many years later. 😀 😀

Today (12th Feb) is the birth anniversary of Pran Saab. I have picked this song from the 1964 film ‘Pooja Ke Phool’ for the anniversary remembrance today. Yes, there is a particular reason. It is one of the rare occasions, when Pran Saab has lip sync-ed a song, and danced on screen, from the era of his continued reign as the arch villain of Hindi films. Of course, after 1967 and ‘Upkar’, when he transitioned into character roles, and that too in a big and significant way, he got to perform many a song on screen. In fact, there was a period of time in 1970s and 80s that specific and meaty roles were written for him, and the screen performance almost always included a song lip synced by him. But in the era till the 1960s, he just has an occasional song assigned to him.

Although I have not made a definitive search for them, I recall the following; the duet “Jise Dhoondhti Phirti Hai Meri Nazar” from the film ‘Sheesh Mahal’ (1950); then the fun song from ‘Munim ji’ (1955) – “Dil Ki Umangen Hain Jawaan”. This latter song is also a unique piece of music – Pran Saab has sung for himself in this song. Yes, of course, the iconic “Hai Aag Hamaare Seene Mein. . . Hum Bhi Hain, Tum Bhi Ho” from the musical bonanza ‘Jis Desh Ganga Behti Hai’ (1960). Sterling performance, as Pran Saab rides two horses simultaneously, standing on the back of the horses, one foot on each horse.

And then we come to today’s song. The song is a dance sequence being performed by Gopikrishan Maharaj and Madhumati. In the three antaraa song, the middle antaraa turns out to be a fantasy play, as Pran, who is actually an audience on the side, daydreams himself to be performing the song, along with Sandhya Roy. the lady companion that I am not able to name. So the middle antaraa is performed on screen by Pran Saab and Sandhya Roy his lady companion. Now this performance, a folk dance type steps, trying to emulate someone none other than the great Gopikrishan Maharaj himself, is a type of performance that one does not associate with him (at least in this phase of his career), and none other that I have seen in any other film. I request our knowledgeable friends and readers on the blog to please add more such instances, if they are aware. And yes, the request also includes help to identify the actress who is his lady companion in this clip.[Ed Note: The lady companion in this clip is identified as Bengali actress Sandhya Roy, as per the inputs provided by Shri Partha Chanda.]

‘Pooja Ke Phool’ is the typical south Indian family drama that is produced by the prestigious banner of AVM and directed by Bheem Singh. The extreme emotionalism of such family dramas, plus the complexity (zaniness??) of the plots and sub plots, sometimes makes this category of films insufferable. So in this film, Pran is the husband of the niece of Dharmendra. Forget the age factor, even the appearances of the characters do not do justice to them. To top it, he (Pran) is also having an amorous fling on the side. In this song, we see him come to see this street performance along with his lady love from the extra-marital affair. Dharmendra too, chances to be on the spot. He sees the two together, and walks away in anger. A little later in the film, the lady starts to demand rights and shares as a wife. She threatens to kill him. The two meet, and in the melee that ensues, the lady gets killed. Mohan Choti is an eyewitness. However, Dharmendra takes on the blame, just so that his niece’s life and home is not jeopardized. Case comes to the court. Ashok Kumar is the public prosecutor, and he has this personal thing against Dharmendra – he has ditched Ashok Kumar’s daughter, and married someone else. Now enter the daughter, Mala Sinha, who is also a lawyer. She comes to the court as the defense lawyer for Dharmendra. Despite his repeated confessions in the court, the case is made to continue. Dharmendra and Mala Sinha were an amorous pair once, but circumstances led Dharmendra to marry a blind girl (Nimmi). If all this does not sound too complicated yet, maybe it is time to watch the film itself. 😀 😀

Not saying too many things about the film, I must confess that I am quite bowled over by the music and the songs. The list if songs is quite impressive, as given below.

The songs of this film have been penned by Rajendra Krishan and the music is composed by Madan Mohan.

I would like to write about one more thing, related to this song. The choreography of this dance is done by Gopikrishan Maharaj himself. And that simply is excellent. The dance movements are very imaginatively sequenced, and very excellently executed, including the facial expressions and the twitching of eyebrows. The pace of the song and the pace of the singing is – fast. And the dance steps themselves are so energetic and so beautifully arranged. Pran Saab surely has his work cut out as he takes on the 2nd antaraa on screen.

So now let us enjoy this wonderful peppy dance number. And remember this very lovable villain of the Hindi cinema.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3492

Post No. :

14034

‘Pooja Ke Phool’ from 1964, is a production from AVM, Madras. It is directed by A Bheemsingh. True to the colors of the family dramas emanating from the south, this film is not much different that the regular run-of-the-mill emotionally loaded films coming from there. This film however has a slight sinister twist, in that a murder is part of the storyline. There is a certain amount of drama built around the trial in the court and the effort to nail the true culprit – a task that is made extremely challenging by the fact that the hero Shankar (roled played by Dharmendra) repeatedly asserts in the court that he admits his guilt and should be punished. The heroine Shanti (role played by Mala Sinha) who is the lawyer defending Shankar, has her work cut out for her, to get the hero freed, when he himself doesn’t want to be.

Add to that another twist, that the hero and the heroine are actually not made for each other in this storyline – the hero is already a married person. Yes, there are confusions galore, as circumstances (and the director’s writ) do not allow this fact to be known till some time into the film. Which gives the director a chance to squeeze in a romantically naughty song like this one.

Well, the song itself is a wonderful creation, in the category of ‘please-don’t-go’ songs. The highlight of this song is the superb on screen performance of Mala Sinha. Her mannerisms and the execution of the entire song sequence is definitely a hallmark performance.

The star cast of the film includes Mala Sinha, Dharmendra, Sandhya Roy, Gopikrishan, Madhumati, Nana Palsikar, Mohan Choti, Umesh Sharma, Sulochana Chatterjee, Leela Chitnis, Ashok Kumar, Nimmi, Pran, Shivraj, and Mukri. All songs are penned by Rajendra Krishan and the music for them is created by Madan Mohan.

Enjoy this lovely naughty song, as the heroine is trying to impede the departure of the hero, as he tries to make a get-away in the middle of the night. Asking of questions and checking for logic is not allowed in some such scenarios. 🙂

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

As can be seen, the movie had some memorable songs in it. One of these songs was covered as a multiple century song as well (Blog’s, Sahir Ludhianvi’s and Sudhir Ji’s century song) in one writeup.

The eighth and final song is a special song as well. It is sung by the Hemmadi Sisters Suman and Shyama Hemmadi, who after their marriages became known as Suman Kalyanpur and Shyama Chittar respectively. The two sisters, though not as prolific as the various Mangeshkar sisters in singing together, have sung togethertwice in HFM. The first occasion was in “Dooj Ka Chaand)”(1964) and later in “Deedaar” (1970).

Here is the first of these duets sung by the two sisters. Sahir Ludhianvi is the lyricist. Music is composed by Roshan.

The song is picturised as a dance son on two dancers. I request our knowledgeable readers to help identify them.

There may be errors in the lyrics that I have noted down because the words are not clear at some places. I request our readers with keener ears to help point them out.

With this song, “Dooj Ka Chaand” (1964) joins the list of movies that have all their songs covered in the blog.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3481

Post No. :

13986

Today, is 28th January – a living legend of Hindi film music turns 81. Yes, its Suman Kalyanpur’s birthday.

Greetings and best wishes to her, for many more such celebrations to come. We wish her good health, happiness and peace.

A voice that has been regaling the listeners, especially the kind that have been hooked on to Hindi film music, listening to the radio services from AIR and Redio Ceylon.

The song I bring to you today, is this very endearing voice, singing a wonderful melody from the 1964 film ‘Krishnavtaar’ . The film is produced under the banner of Kashi Film Corporation, Bombay, and is directed by S Dosaani. The list of actors includes Shyam, Lakshmi Chhaaya, Sujata, Bhagwan, Sabina, Sadhna Khote, Prem Sagar, Jagdish Kanwal, Ajay and Radheyshyam etc. The nine songs of this film are shared between two song writers – four written by Anjaan and five written by Yogesh. This song is by Anjaan. The wonderful musical compositions of this film are prepared by Suresh Kumar.

The song is sung by Suman Kalyanpur. She has lent her voice to as many as 6 songs out of nine in this film, four of which are solo songs. This is the second solo by her to be showcased here.

A wonderful rendition, that tells about a celebration of the heart. A celebration that is today.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3475

Post No. :

13958

Missing Films of 1960s – 49
– – – – – – – – – – – – – – –

Today’s debut film is ‘Krishnavtaar’ from 1964. The film has nine songs listed, and as I scanned this list of songs, I am amazed to see so many favorites from radio listening day – songs that are so much alive in memory, but without being aware of any other details.

The film is produced under the banner of Kashi Film Corporation, Bombay, and is directed by S Dosaani. The list of actors includes Shyam, Lakshmi Chhaaya, Sujata, Bhagwan, Sabina, Sadhna Khote, Prem Sagar, Jagdish Kanwal, Ajay and Radheyshyam etc. The nine songs of this film are shared between two song writers – four written by Anjaan and five written by Yogesh. This song is by Yogesh Gaud. The wonderful musical compositions of this film are prepared by Suresh Kumar.

The song is sung by Suman Kalyanpur. She has lent her voice to as many as 6 songs out of nine in this film, four of which are solo songs.

This is a very lovely song in which the lady is complaining that her beauty prep and her appearance is being disturbed on purpose by the flurries of the wind. She is going to see her beau, and the wind on espying her beauty, is trying to disturb and dishevel her makeup and her appearance. The wind is having a bad eye on her, out of jealousy.

Wonderful pieces of sitar music have been intertwined into this song. Lovely music and lovely rendition – a song worth preserving in the memory.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3468

Post No. :

13921

Missing Films of 1960s – 43
– – – – – – – – – – – – – – –

It was a great day yesterday. 🙂 The sun completed its journey cycle of the southern hemisphere, and slowly started to edge over the tilt of the earth’s axis and initiated its journey of the northern hemisphere. The Uttaraayan is initiated. The sun has moved from the ‘dhanu’ constellation to the ‘makar’ constellation, as per the Indian solar calendar. The cycle of seasons moves from Hemant to Shishir. It is the start of the abatement of the cold weather (in the northern hemisphere).

It is a day of great celebrations all over the country. It is the Lohri festival in northern states; it is Pedda Pandaga in Karnataka and Andhra; it is Pongal in Tamilnadu; it is Sukarat in the central states; it is Maagh Bihu in the eastern states. It is the month of Maagh as per the Hindu calendar. On this day of Sankraanti, it is ‘Maagh Mela‘ a big festival in the villages and the centres of pilgrimage. It is considered most auspicious to have a dip in the holy rivers at sunrise on this day. Special pooja ceremonies are held in homes and in temples. Special sweet preparations, and food preparations are done for today. ‘Khichdi’, a meal prepared from rice and lentils is a must preparation for the day. People of all regions will prepare these dishes in large volumes and distribute to one and all.

It is also the beginning of the New Year, as per the Hindu calendar. And so, another Happy New Year greetings to all friends and readers of this blog. 🙂

Yesterday, 14th January, 2018, was also a very very special day for Atul-Song-a-Day. Ah yes, the team messages have been going back and forth since about 10.30 last night. The blog has reached a milestone of fantastic proportions. At just about 11 pm last night (Indian Standard Time), the visitors ticker on the blog main page crossed over from the number 9,999,999 to the number 10,000,000 – signifying that the blog has counted its 10 millionth user. Over a period of 9 years, 5 months and 27 days (till 14th Jan, 2018), now more than One Crore (or Ten Million) visits have been made to this blog.

Folks from all over the world come to our blog in search of songs and music and authenticated information, and yes, accurate lyrics. By any standards, this is a unique web location on this planet. I have said this earlier too – it is an ever enlarging compendium of history of Hindi films and Hindi film music san pareil, anywhere. It is not just the songs that are important – we have such a depth of information that is collated with the rigours of a research project. In our collective humble opinion, no other web site can boast of such a large number of film synopses, film reviews, persona bio sketches, historical compilations, etc., relating to Hindi films and Hindi film music. And not just that, there is in depth articles on so many topics that relate to festivals, historical events, traditions, religious sentiments, eminent personalities – all the stories tied to and told through a film song. That is one accomplishment that surely will take a lot, even to imitate.

It is a ‘labour of love’, to borrow a phrase from our own blog masthead. And this labour of love is effected through a team of good people; people who have come together just for the love of music, and people who have selflessly contributed to this project which is now of gigantic proportions. And key here is ‘good people’ – who only argue with each other for the sake of establishing either the authenticity of information, or the correctness of lyrics 😀 😀 . When good people come together and put together their efforts – only good things will be the outcome. 🙂

I introduce to the readers today, this debut song from the film ‘Eid Ka Chaand’ from 1964. In my effort to bring out the missing films from 1960s, I have already crossed over into 1967. But as I continue to keep checking backwards, I find that more and more films and / or their songs, from this decade at least are becoming available in public domain. ‘Eid Ka Chaand’ is also one such film, from 1964, for which apparently I missed locating this song which, as per the date, was posted back in 2013.

‘Eid Ka Chaand’ is a film from Vakil Productions, Bombay and is directed by Nanubhai Vakil. The cast of actors includes Vijay Dutt, Chitra, Krishna Kumar, Niranjan Sharma, Hiralal, Wazir Mohammed Khan, Maruti, Fazlu, and Sadiq amongst others. There are nine songs listed for this film. The songs are written by Kaifi Azmi, and the tunes are composed by Alla Rakha (aka AR Qureshi). Four of these are sung by Laxmi Shankar, which in itself is a treat for music lovers.

The song presented today in the voice of Rafi Sb. The song tells of the qualities of good people, and how they are favoured by the angels in the heavens. The sentiments expressed in these words are so much the fundamental tenets of the Islamic tradition, which in of itself, is a focus on the goodness of human beings.

So quite an appropriate song to pull together all the celebrations and the goodness of people we discussed above. May the Sun’s traversal into Uttaraayan bring together all the warmth of this time and these people into your lives.

This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3458

Post No. :

13879

Missing Films of 1960s – 39
– – – – – – – – – – – – – – –

What luck, I must have missed this song in my online searches earlier when I was looking for songs of missing films from 1964. When I located this song couple of days back, I realize it has been sitting here for almost five years. What luck.

And what a wonderful melodious song this one is. और कैसे कैसे कहूँ – the more obscure the film, the higher probability that we will find some really great songs. I was completely bowled over by this song when I was able to locate it and then listened to it. The song has been uploaded by our dear friend Parag Sankla.

This is a stunt film that was produced in 1964 under the banner of Padma Productions, Bombay. Name of the director is given simply as Jal. The star cast is familiar for such films of that era – Azaad, Chitra, Heeralal, Krishna Kumari, Kamal Kapoor, Shaam Kumar, Heera Sawant, Sheikh, Maruti, Fazlu, and then a lot more names that are not very familiar – Gani, Nihal, Renu, Meena, Master Dillu, Nayar, K Murti, Buniyad Ali Sultan, Gopal, and Raghunath.

Geet Kosh lists 7 songs for this film. As per the listings, only 4 songs appear to have been released on gramophone records, and three may be lost, unless the film itself is traced. Names of two music directors are listed – Manoharlal and S Kishan. Manoharlal is possibly Manoharlal Khanna, whom we know more as a lyricist, although his name also appears as a music director in a few films. The specific MD name against individual songs is not given so I propose we use the MD name as ‘Mahoharlal, S Kishan’.

Coming to lyricists, once again two names are listed – Akhtar Romani and Farad. And once again, the specific name against individual songs is not listed, so it is not possible to identify the writer of this song.

Singing voices are of Geeta Dutt and Mahendra Kapoor. Both have sung their lines with zest and fun. A wonderful song for light mood and fun.

So this film makes a debut on our blog today. At least four songs of this film are available, so we should be seeing more of them here.

This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3458

Post No. :

13877

Hullo to Atuldom

Today’s song from a film called “Daal-me-kala” (that is how it was spelt in the titles, when I saw the movie yesterday) which released in 1964. It had a star cast of Kishore Kumar, Nimmi, Agha, Shammi, Abhi Bhattacharya, Bepin Gupta, Om Prakash, Mumtaz Begum, Sulochana Chatterjee, Tun Tun, Sunder, Keshto Mukherjee etc. the movie had four lyricists- Raja Mehdi Ali Khan, Bharat Vyas, Santoshi (again as shown in the titles, must be P.L. Santoshi) and Majrooh Sultanpuri. The playback singers used were Kishore Kumar, Asha Bhonsle, Manna Dey and C. Ramchandra. Music director was C. Ramchandra. The movie was produced by Bepin Gupta and directed by Satyen Bose.

Going by the fact that Kishore Kumar and Agha are in the lead it should have been a musical comedy, it was- very enjoyable. It had a simple story line where Bepin Gupta mistakes Kishore Kumar for a Professor which Abhi Bhattacharya was supposed to be and Om Praskash mistakes Abhi Bhattacharya for a third person who is supposed to be a theatre artist. That means the movie had mistaken identity as its story and this confusion leads to a lot of funny situations. Another thing unusual (by my experience in movie watching) was Nimmi paired with Kishore Kumar. Then I thought it was unusual for C. Ramchandra to take Kishore Kumar as singer and then I remembered an earlier movie called “Aasha”.

Two songs from this movie have been posted in the past. Chaand chupchaap hai and in aankhon ko tumhen apna banaane ki. Today on the occasion of the music director’s death anniversary here is the third song. It is sung by Kishore Kumar as a street side tamasha song. He is dressed as a pathan (a disguise) and is showing a Bhaalu ka khel, with Agha in Bhaalu’s disguise. A very enjoyable song.

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.